If this is your first visit, be sure to
check out the FAQ by clicking the
link above. You may have to register
before you can post: click the register link above to proceed. To start viewing messages,
select the forum that you want to visit from the selection below.

Nishanth (@ guar*) on: Tue Aug 3 03:38:31 EDT 2004

With reference to my review on Nithyasree's concert recording: it is Mayamman in Ahiri (Syama Sastri's Krithi) and Eppadi Paadinaro is in Karnataka Devagandhari.

With reference to the Bharatha Natya/Vocal concert of Padma Subramaniam, the Navaragamalika consisted of the following ragas (these ragas names were also incorporated in the varnam itself.):
Thodi, Mohanam, Vasantha, Devamanohari, Shankarabharanam, Saarangaa, Kaanadaa, Aarabhi & Bhairavi.

Kishore Guha (@ 210.*) on: Sat Dec 18 09:43:43 EST 2004

Raag Bageshree - This raga with a sad and light emotions associated is available to download from many sites like musicindiaonline. For live concert recordings I found with search grand recordings of jitendra gore of samvadini solo. I found some of the clips I want at http://www.jitendragore.com or http://gore-jitendra.tripod.com

SVK writes:
No matter how shallow the pretended sincerity of homage to the saint composer either in the city or at Tiruvaiyaru, no matter how musicians mangle and mutilate his sahityas imposing on them their over-emphatic ego-centric exposition.

Sri Tyagaraja's spell of bhakti alone sustains his hold on the minds of rasikas, though completely absent in the consideration of musicians. The truth is that all the secrets of sangita's beauty is locked up in his songs hidden and waiting to be discovered only through veneration of the Bard of Tiruvaiyaru.

Arohanas, avarohanas, talas, neravals and kalpana swaraprastharas are all in effect blatantly ritualistic; the essence is bhakti and santham. Interpretation of Sri Tyagaraja's kirtanas based on their bhakti content is far superior to the kind of ritualistic piety that musicians frenetically explore. The approach of some artistes makes a knowledgeable rasika wonder whether they assail some of the cardinal ideals enshrined in Carnatic music's culture.

Jesudas sprang a few surprises in his concert. He gave rasikas food for thought with his version of the raga `Madangagamini.' `Madangamini' is Natakapriya sans rishabha. The alapana was fine, and the latent beauty of this raga, relatively unheard of, became evident. The kriti `Gananayaka Thunai Seyyum... ' was sung with finesse.